剑桥雅思15阅读Test3Passage1原文翻译

英国雕塑家亨利·摩尔在学校受到老师的鼓励，但在第一次世界大战期间不得不放弃学习。摩尔在伦敦的皇家艺术学院接受了高级雕塑学习，并受到古埃及和非洲雕塑的影响。摩尔以雕塑教师的身份工作，开始追求抽象形状，并受到巴勃罗·毕加索等艺术家的启发。他的风格在1940年代发生了戏剧性的变化，转向更自然和人文的主题。摩尔的作品展示了丰富的创造力和实验性，他被认为是20世纪最重要的雕塑家之一。

第1段

Henry Moore was born in Castleford, a small town near Leeds in the north of England. He was the seventh child of Raymond Moore and his wife Mary Baker. He studied at Castleford Grammar School from 1909 to 1915, where his early interest in art was encouraged by his teacher Alice Gostick. After leaving school, Moore hoped to become a sculptor, but instead he complied with his father’s wish that he train as a schoolteacher. He had to abandon his training in 1917 when he was sent to France to fight in the First World War.

亨利·摩尔出生在英格兰北部利兹附近的一个小镇卡斯尔福德。他是雷蒙德·摩尔和他的妻子玛丽·贝克的第七个孩子。1909年至1915年，他在卡斯尔福德文法学校就读，他的艺术兴趣在那里得到了他的老师艾丽丝·高斯蒂克的鼓励。离开学校后，摩尔希望成为一名雕塑家，但他却按照父亲的愿望选择了成为一名教师。然而，1917年他被派往法国参加第一次世界大战，不得不放弃培训。

第2段

After the war, Moore enrolled at the Leeds School of Art, where he studied for two years. In his first year, he spent most of his time drawing. Although he wanted to study sculpture, no teacher was appointed until his second year. At the end of that year, he passed the sculpture examination and was awarded a scholarship to the Royal College of Art in London. In September 1921, he moved to London and began three years of advanced study in sculpture.

 战后，摩尔进入利兹艺术学校学习了两年。在第一年，他大部分时间都在画画。尽管他想学习雕塑，但直到第二年才有老师任命。在那一年的末尾，他通过了雕塑考试，并获得了伦敦皇家艺术学院的奖学金。1921年9月，他搬到伦敦，在那里开始了三年的高级雕塑学习。

第3段

Alongside the instruction he received at the Royal College, Moore visited many of the London museums, particularly the British Museum, which had a wide-ranging collection of ancient sculpture. During these visits, he discovered the power and beauty of ancient Egyptian and African sculpture. As he became increasingly interested in these ‘primitive’ forms of art, he turned away from European sculptural traditions.

在皇家艺术学院接受指导的同时，摩尔参观了伦敦的许多博物馆，特别是大英博物馆，那里有广泛的古代雕塑收藏。在这些访问中，他发现了古埃及和非洲雕塑的力量和美感。随着他对这些“原始”艺术形式越来越感兴趣，他远离了欧洲雕塑传统。

第4段

After graduating, Moore spent the first six months of 1925 travelling in France. When he visited the Trocadero Museum in Paris, he was impressed by a cast of a Mayan sculpture of the rain spirit. It was a male reclining figure with its knees drawn up together, and its head at a right angle to its body. Moore became fascinated with this stone sculpture, which he thought had a power and originality that no other stone sculpture possessed. He himself started carving a variety of subjects in stone, including depictions of reclining women, mother-and-child groups, and masks.

 毕业后，摩尔在1925年的前六个月在法国旅行。当他参观巴黎的特罗卡代罗博物馆时，他对一尊玛雅雕塑的雨灵感到印象深刻。这是一尊男性躺卧的雕像，双膝紧贴在一起，头与身体呈直角。摩尔对这个石雕产生了极大的兴趣，他认为它具有其他石雕所不具备的力量和独创性。他自己开始雕刻各种主题的石雕，包括躺卧的女人、母子群像和面具。

第5段

Moore’s exceptional talent soon gained recognition, and in 1926 he started work as a sculpture instructor at the Royal College. In 1933, he became a member of a group of young artists called Unit One. The aim of the group was to convince the English public of the merits of the emerging international movement in modern art and architecture.

摩尔的卓越才能很快得到认可，1926年他开始在皇家艺术学院担任雕塑教师。1933年，他成为一个名为“Unit One”的年轻艺术家团体的成员。该团体的目标是说服英国公众接受新兴的国际现代艺术和建筑运动的优点。

第6段

Around this time, Moore moved away from the human figure to experiment with abstract shapes. In 1931, he held an exhibition at the Leicester Galleries in London. His work was enthusiastically welcomed by fellow sculptors, but the reviews in the press were extremely negative and turned Moore into a notorious figure. There were calls for his resignation from the Royal College, and the following year, when his contract expired, he left to start a sculpture department at the Chelsea School of Art in London.

在此期间，摩尔开始远离人体形象，尝试抽象形状。1931年，他在伦敦的莱斯特画廊举办了一次展览。他的作品受到其他雕塑家的热烈欢迎，但媒体的评论却非常负面，使摩尔成为臭名昭著的人物。有人呼吁他辞去皇家艺术学院的职务，次年，当他的合同到期时，他离开并开始在伦敦的切尔西艺术学院创办雕塑系。

第7段

Throughout the 1930s, Moore did not show any inclination to please the British public. He became interested in the paintings of the Spanish artist Pablo Picasso, whose work inspired him to distort the human body in a radical way. At times, he seemed to abandon the human figure altogether. The pages of his sketchbooks from this period show his ideas for abstract sculptures that bore little resemblance to the human form.

在1930年代的整个时期，摩尔没有显示出取悦英国公众的意愿。他对西班牙艺术家巴勃罗·毕加索的画作产生了兴趣，毕加索的作品激发了他以一种激进的方式扭曲人体。有时，他似乎完全放弃了人体形象。他那段时间的素描本显示了他对抽象雕塑的想法，几乎与人体形态无关。

第8段

In 1940, during the Second World War, Moore stopped teaching at the Chelsea School and moved to a farmhouse about 20 miles north of London. A shortage of materials forced him to focus on drawing. He did numerous small sketches of Londoners, later turning these ideas into large coloured drawings in his studio. In 1942, he returned to Castleford to make a series of sketches of the miners who worked there.

 1940年，在第二次世界大战期间，摩尔停止了在切尔西艺术学院的教学，搬到了伦敦以北约20英里的一个农舍。材料短缺迫使他专注于绘画。他在工作室里做了许多伦敦人的小草图，后来将这些想法转化为大型彩色素描。1942年，他返回卡斯尔福德为那里工作的矿工画了一系列素描。

第9段

In 1944, Harlow, a town near London, offered Moore a commission for a sculpture depicting a family. The resulting work signifies a dramatic change in Moore’s style, away from the experimentation of the 1930s towards a more natural and humanistic subject matter. He did dozens of studies in clay for the sculpture, and these were cast in bronze and issued in editions of seven to nine copies each. In this way, Moore’s work became available to collectors all over the world. The boost to his income enabled him to take on ambitious projects and start working on the scale he felt his sculpture demanded.

1944年，伦敦附近的哈洛镇委托摩尔创作一座描绘一个家庭的雕塑。这件作品标志着摩尔的风格发生了戏剧性的变化，摆脱了1930年代的实验主义，转向了更加自然和人文的主题。他为这座雕塑做了几十个黏土模型的研究，并且每个模型都铸造了七到九个铜像。这样，摩尔的作品就可以供全世界的收藏家购买了。这一收入的提高使他能够从事雄心勃勃的项目，并开始按照他认为雕塑需要的规模工作。

第10段

Critics who had begun to think that Moore had become less revolutionary were proven wrong by the appearance, in 1950, of the first of Moore’s series of standing figures in bronze, with their harsh and angular pierced forms and distinct impression of menace. Moore also varied his subject matter in the 1950s with such works as  and . These were rare examples of Moore’s use of the male figure and owe something to his visit to Greece in 1951, when he had the opportunity to study ancient works of art.

那些开始认为摩尔变得不那么革命的评论家在1950年被证明是错误的，因为在那一年，摩尔的系列站立的青铜人物首次亮相，它们具有严厉而有角度的穿孔形式和明显的威胁印象。在1950年代，摩尔还通过作品《》和《》等罕见地使用男性形象，并受他1951年访问希腊时研究古代艺术的影响。

第11段

In his final years, Moore created the Henry Moore Foundation to promote art appreciation and to display his work. Moore was the first modern English sculptor to achieve international critical acclaim and he is still regarded as one of the most important sculptors of the 20th century.

在他的最后几年，摩尔创建了亨利·摩尔基金会，以促进艺术欣赏和展示他的作品。摩尔是第一个在国际上受到广泛赞誉的现代英国雕塑家，至今仍被认为是20世纪最重要的雕塑家之一。